My research concerns the composition of instrumental music implemented with a specific use of contact-piezo microphones. Piezo microphones are low cost and low fidelity microphones that can be easily used to disclose and amplify sounds coming from instruments. The development of a peculiar use of this technology will be oriented to emphasize concrete aspects of instrumental sound and to work on the coexistence of traditional and unconventional sounds. The low-fidelity quality of these microphones will allow to highlight interesting aspects of proximity of sounds. The consequent and peculiar attention to the details of sound will lead to a closer way of listening. The choice of the piezo microphones represents also an unconventional approach to the electronics: the composer can easily build his/her own piezo microphones, according to the specific needs of each piece.
Composers have recently integrated techniques proper to saxophone without mouthpiece attached to the neckpiece within their works. This doctoral project sheds light on the artistic possibilities, performance practice, and notational issues of these techniques.
This research essentially concentrates on the realization of fixed media electroacoustic music into aural reality, dealing with issues such as performance, interpretation, reproduction and correlation between compositional aesthetics and the performance situation. Consequently, the critical parameters (artistic and technical) of bringing a piece of fixed media music into sonic reality will be investigated.
The Stroh violin or “horn violin” is a relatively unknown instrument designed at the turn of the century, a time when sound recording was in its infancy and the Stroh was favourable over a standard violin. As recording technology improved, the Stroh violin fell into obscurity only to emerge decades later as a Transylvanian folk instrument.